Five standalone movie concepts
Mother Talzin, Fennec Shand, Darth Plagueis, Maz Kanata, and Dexter Jettster each become the center of a distinct cinematic lane rather than extensions of the Skywalker saga.
A cinematic digital conversion of Star Wars Saga Expanded: five overlooked Star Wars figures transformed into standalone movie campaigns, each with its own genre identity, emotional engine, market case, and franchise path.
The source document argues for five minor or underexplored characters who deserve theatrical standalone films. The strongest opportunity is not simply familiarity; it is tonal range: horror, assassin cinema, prestige Sith tragedy, High Republic adventure, and intimate noir.
Mother Talzin, Fennec Shand, Darth Plagueis, Maz Kanata, and Dexter Jettster each become the center of a distinct cinematic lane rather than extensions of the Skywalker saga.
Maz Kanata’s High Republic adventure has the largest proposed scope: Free Fleet ensembles, new era costuming, large space battles, and franchise-launch worldbuilding.
Darth Plagueis carries the strongest event-film upside, framed as the most important Star Wars origin myth never told on screen.
Dexter Jettster’s noir concept is deliberately efficient: a single day, a single building, Coruscant’s Level 1313, and the weight of an ordinary man’s guilt.
The slate reaches back to the High Republic through Maz Kanata, then moves through the deep Sith past, the prequel shadow years, the Imperial assassin economy, and the post-purge Coruscant underworld.
Each card is a self-contained pitch package with genre, era, production logic, commercial appeal, and a link to the full character dossier below.
A mother’s grief becomes a galactic ideology.
Open dossierThe galaxy’s cleanest killer finds a contract with collateral damage.
Open dossierThe master who taught the Emperor how to become inevitable.
Open dossierA pirate queen builds the sanctuary the galaxy will need.
Open dossierThe cook who knew too much gets one last chance at quiet.
Open dossierThe proposed films create an alternate path through Star Wars history, beginning with the High Republic and ending in the hidden kitchens of Imperial Coruscant.
Star Wars: The Pirate Queen of Takodana
Star Wars: The Tragedy of Darth Plagueis
Star Wars: The Witch of Dathomir
Star Wars: The Shand Protocol
Star Wars: Dex’s Last Customer
The document positions each film with a production scale that matches its genre: practical horror, controlled assassin action, prestige Sith drama, franchise-launch adventure, and efficient underworld noir.
Five characters become five distinct cinematic experiments.
From Dex’s efficient noir to Maz’s High Republic worldbuilding launch.
Wide upside range tied to recognizability, scale, and genre appetite.
Horror, action-thriller, tragedy, adventure epic, and noir character study.
This matrix condenses the slate into practical development variables: character, genre, era, budget, box office potential, and continuation strategy.
| Character | Genre | Era | Budget | Box Office | Franchise Path |
|---|---|---|---|---|---|
| Mother Talzin | Dark Fantasy | 40-32 BBY | $120-$145M | $350-$600M | A second film covering Talzin’s orchestration of Ventress’s recruitment and the Nightsisters’ Clone Wars mercenary operations would complete a two-film arc. Most unique entry on this list; genuinely franchise-transforming if executed with conviction. |
| Fennec Shand | Assassin Thriller | 10-5 BBY | $110-$135M | $400-$650M | The period between this film and Fennec’s Mandalorian appearance is rich with potential stories. Disney+ series covering individual contract missions. Best as a standalone with optional episodic expansion. |
| Darth Plagueis | Sith Tragedy | 65-32 BBY | $165-$195M | $600-$900M | Primarily a standalone. A companion film covering Sidious’s early Senate career could expand the mythology. This is a one-time, irreplaceable canonical event — best not diluted by sequels. |
| Maz Kanata | High Republic Adventure | 300-200 BBY | $175-$210M | $500-$850M | The natural launch pad for a High Republic cinematic sub-franchise. Sequels, companion Disney+ series, and animated content can all flow from this world-building investment. The most franchise-generative entry on this list. |
| Dexter Jettster | Noir Character Study | 5 BBY | $70-$90M | $200-$400M | Best as a standalone. No sequel needed; the story is complete. Disney+ companion short exploring The Erased community. The most artistically courageous entry on this list. |
The following sections integrate the full narrative substance of the source document into polished, readable cinematic dossiers.
Star Wars: The Witch of Dathomir
The Clan Mother of the Nightsisters of Dathomir, Mother Talzin wielded magic that even Darth Sidious approached with caution. She was once Sidious's ally — he promised to make her his right hand and instead abducted her son Maul as his Sith apprentice.
Her decades of vengeance, manipulation, and survival through the Clone Wars — orchestrating Ventress's revenge, creating Savage Opress, orchestrating the Shadow Collective — culminated in her death in the Son of Dathomir comic. Her entire arc, from alliance with Sidious to martyrdom, has never been told on screen.
Mother Talzin is Star Wars' most powerful untold origin story. A Force witch who predates the Jedi-Sith binary, whose magic is rooted in a tradition entirely outside the franchise's usual cosmology — and whose personal tragedy, having her child taken by the Sith, is one of the franchise's most emotionally resonant foundations.
A film tracing her path from Darth Sidious's ally to his most determined enemy would be a genuinely unique genre entry: dark fantasy meets political intrigue, with genuine horror elements and a maternal emotional core.
Dark fantasy horror thriller — Macbeth meets The Witch (2015 Robert Eggers film). Atmospheric, ominous, concerned with power, betrayal, and the cost of vengeance. Unlike any Star Wars film that has come before.
Set in the years before The Phantom Menace, approximately 40–32 BBY, the film tells the story of Talzin's relationship with a young Darth Sidious — before he was the Emperor, when he was still consolidating power and needed allies who operated outside the Sith's known networks.
The film is structured as a seduction: Sidious approaches Dathomir with genuine interest in Talzin's magic, offering a partnership that would give the Nightsisters galactic reach and give the Sith access to Force traditions they cannot otherwise access.
Talzin, who has led the Nightsisters for decades and understands that isolation means eventual extinction, accepts. The film covers the years of their uneasy alliance: Talzin providing dark magick resources and intelligence, Sidious providing political protection and off-world clients for the Nightsisters' mercenary services. Their relationship is simultaneously political, philosophical, and charged with something neither would admit to — a mutual recognition of equals.
The betrayal comes not in a single moment but in an accumulation: Sidious takes Maul, frames it as an honor, and disappears. Talzin's grief is total, private, and cold. The film's final act shows Talzin transforming her heartbreak into purpose — rebuilding the Nightsisters into a fully autonomous force, training Ventress, and beginning the long game of vengeance she will pursue through the Clone Wars. The final scene mirrors the opening: Sidious, somewhere across the galaxy, becomes aware that Talzin knows. And is not, for once, certain she can be stopped.
A mother’s grief weaponized into an entire ideology. Talzin’s story is about the transformation of love into something that can survive the death of its original object — and whether survival is the same as triumph.
Dathomir in its pre-Clone Wars prime — before the massacre, before Dooku’s attack, a fully functioning matriarchal Force tradition. The Nightbrother culture. The earliest glimpse of how Sidious operated as a Sith before the prequel era.
The horror fantasy genre is commercially ascendant. A Star Wars film willing to go genuinely dark would attract adult audiences hungry for something the franchise has never done. International appeal in markets with strong mythological storytelling traditions including Japan, Korea, France, and Spain.
Heavily practical Dathomir sets, atmospheric creature design, and magical effect sequences that lean toward in-camera horror technique rather than VFX spectacle. A genuinely distinctive visual palette.
A second film covering Talzin’s orchestration of Ventress’s recruitment and the Nightsisters’ Clone Wars mercenary operations would complete a two-film arc. Most unique entry on this list; genuinely franchise-transforming if executed with conviction.
Star Wars: The Shand Protocol
An elite assassin and mercenary who worked for the galaxy's top crime syndicates during the Imperial era, Fennec Shand made her live-action debut in The Mandalorian Season 1 in 2019 — shot and left for dead, she was saved by Boba Fett and became his most loyal partner.
The Bad Batch established her early Imperial career, including a mission to capture the clone Omega that brought her into contact with Cad Bane. She is Star Wars' most prominent Asian female character, portrayed with cold precision by Ming-Na Wen.
Fennec Shand's early Imperial career — the period when she was building her reputation as the galaxy's most feared assassin for hire — is entirely unexplored in any long-form narrative.
She represents a Star Wars archetype never centered on screen: the professional, the technician of violence whose story is not about the Force or rebellion or politics, but about craft, survival, and the particular ethics of being the best at a morally compromised profession. Her story is the template for the assassin subgenre that has driven massive cinematic box office internationally.
Assassin-thriller — John Wick by way of Atomic Blonde. Spare, precise, lethal, and quietly character-driven beneath the action surface. A film about a woman who has made herself into an instrument and what happens when the instrument is pointed at something that makes it hesitate.
Set during the mid-Imperial era, approximately 10–5 BBY, the film follows Fennec at the height of her career — taking a contract that will definitively establish her as the galaxy's preeminent assassin.
The target is a New Republic-aligned senator who has built a case against the Hutt Clan that would dismantle the cartel's financial network. Fennec's employer is not the Hutts but a mysterious Imperial intelligence officer who wants the senator dead for reasons that go beyond crime — reasons connected to a weapons program that the senator inadvertently discovered.
As Fennec closes in on her target, she discovers the senator is not merely a political inconvenience but a person actively protecting a population of former slaves — workers who escaped from spice mines and are living in a hidden community on a remote world. The senator is the only person with the power and evidence to formalize their protection under New Republic law. Killing the senator does not simply end a career; it sentences hundreds of people to recapture.
Fennec does not have a redemption arc. She has a professional calculation: completing the contract means those people die, and their deaths were not in her contract. She was hired for one kill, not a massacre. She finds a third option — eliminates the Imperial intelligence officer who gave the contract, fakes the senator's death, and disappears, leaving chaos behind her. The final scene: Fennec, alone, somewhere cold, moving to the next job. She is not changed. She is merely, as always, precise.
The ethics of professionalism, the difference between complicity and participation, and the question of whether a line can be drawn without crossing it. Fennec’s story does not resolve into heroism. It resolves into continued survival — deliberately, pointedly unsatisfying in the most artistically interesting way.
The Imperial-era bounty hunter economy in detail — guild structures, contract hierarchies, the relationship between the ISB and private mercenary networks. Mid-Imperial Coruscant’s underworld. The spice trade’s human cost.
Ming-Na Wen has a passionate fanbase. The assassin action-thriller genre performs consistently well globally. An Asian female lead in a Star Wars film would be a landmark moment for the franchise and generate significant media attention.
Action-thriller production with controlled VFX — Fennec’s story is about human violence, not space battles. Urban environments, practical fight choreography, and a tight narrative that does not require planetary-scale spectacle.
The period between this film and Fennec’s Mandalorian appearance is rich with potential stories. Disney+ series covering individual contract missions. Best as a standalone with optional episodic expansion.
Star Wars: The Tragedy of Darth Plagueis
Known only through Palpatine's famous dinner monologue in Revenge of the Sith, Darth Plagueis the Wise, and brief canonical references in The Tarkin novel, Plagueis is a Muun Dark Lord of the Sith who discovered how to manipulate midi-chlorians to create and sustain life.
He trained Darth Sidious, was murdered by his own apprentice in his sleep, and in canon remains almost entirely unexplored. James Luceno's Darth Plagueis Legends novel is considered one of the finest Star Wars novels ever written but is no longer canonical.
Darth Plagueis is the ultimate Star Wars origin myth — the man who trained the man who destroyed the galaxy. His story sits before everything: before the prequels, before the Clone Wars, in the deep history of a Sith master's terrible ambition.
Unlike Vader or Palpatine, he was not defeated by the light side — he was killed by his own student, murdered while asleep, in an act of Sith treachery that is structurally the most perfect expression of the Rule of Two ever conceived. The tragedy of Plagueis is that he was right about almost everything — and was too wise to see the one thing his ambition had built that would destroy him: an apprentice better than himself.
Shakespearean tragedy — Macbeth crossed with Oppenheimer. A brilliant, obsessive man pursuing the ultimate forbidden knowledge, whose every success brings him one step closer to the betrayal he cannot anticipate.
Set entirely before The Phantom Menace, approximately 65–32 BBY, the film follows Plagueis across two narrative timelines: his relationship with his own master, Darth Tenebrous, whom he must eventually betray to claim the Sith throne, and his discovery and cultivation of a young Sheev Palpatine.
Palpatine's perfect qualities — intelligence, patience, political genius — make him the ideal apprentice and, as Plagueis only slowly realizes, the ideal murderer.
The film is structured as a Shakespearean tragedy with classical dramatic irony: the audience knows how it ends. Plagueis does not. The dramatic tension comes not from what happens but from when it will happen and how — watching Palpatine's mask of perfect loyalty slowly reveal, in micro-expressions and small betrayals that Plagueis's intellect registers but his pride refuses to process, the thing that will kill him.
The central dramatic irony: Plagueis is obsessed with cheating death. He has spent his entire life pursuing immortality through midi-chlorian manipulation — an obsession rooted in having watched his own master grow old and weak, then choosing to kill him rather than watch further. He cannot apply the same analysis to his own situation. The film ends, inevitably, in sleep — Palpatine's final act of loyalty being to pour a drink for the only person who ever truly educated him, the mentor whose death teaches the student that the Sith's greatest lesson is the willingness to destroy what you love most.
Hubris, blindness, and the self-annihilating nature of the Sith’s own philosophy. Plagueis built the Rule of Two into his own execution; the tragedy is that he understood the rule perfectly and couldn’t see it applied to himself. Universal themes of ambition, mentorship, and the creation of what destroys you.
The deep history of the Sith: Muun banking planet of Mygeeto, the pre-prequel Republic at its most stable and most corrupt, the nascent Sith philosophy that will eventually produce the Empire. The most significant new lore expansion available to Lucasfilm.
The prestige drama audience for mythological backstory films is proven, with Oppenheimer being the most recent benchmark. The legend-behind-the-legend marketing angle is immediately compelling. Plagueis is the franchise’s most requested canonical expansion.
The most classical production on this list — Senate chambers, Muun financial world sets, atmospheric Sith training environments, minimal traditional action in favor of political intrigue and Force-philosophy confrontations.
Primarily a standalone. A companion film covering Sidious’s early Senate career could expand the mythology. This is a one-time, irreplaceable canonical event — best not diluted by sequels.
Star Wars: The Pirate Queen of Takodana
Over a thousand years old, Maz Kanata is a Force-sensitive pirate queen who ran a cantina castle on Takodana for centuries, providing sanctuary to smugglers, criminals, and wanderers from across the galaxy.
She possessed Anakin Skywalker's lightsaber, though she claimed not to know how. She has lived through the High Republic era, the Old Republic, the rise of both Sith and Jedi, the Clone Wars, the Empire, and the Resistance. Her history spans more of Star Wars' timeline than any other living character in the sequel era.
Maz Kanata is the franchise's greatest unexplored archive. She has lived through a thousand years of galactic history, been called the Usurper, the Despoiler, the Benevolent, and the leader of the Free Fleet — suggesting a past of extraordinary moral complexity.
A film told in the style of an Indiana Jones-like adventure, with an older Maz narrating the most significant century of her life, could function as a mythological foundational story for the entire franchise. Her species is unknown, her early history is a mystery, and her relationship with the Force — genuine sensitivity without Jedi or Sith training — makes her the rarest kind of Star Wars character: someone entirely outside the Light-Dark binary.
Swashbuckling adventure epic with mythological resonance — Raiders of the Lost Ark crossed with Moana. A young Maz sailing the galaxy as the leader of a Free Fleet in the High Republic era, building the legend that will make Takodana a sanctuary for a thousand years.
Set during the High Republic era, approximately 300–200 BBY, the film follows a young Maz — a few hundred years old, which is still young for her mysterious species — as the captain of a Free Fleet: an alliance of independent traders, outlaws, and displaced peoples who refuse to acknowledge the Republic's authority over the Outer Rim.
The Jedi Order, at the height of its power, regards the Free Fleets as pirates. The Free Fleets regard the Jedi as enforcers of Republic colonialism.
The film's central conflict is genuinely political and morally complex: Maz must decide whether to accept a Republic offer that would legitimize the Free Fleet and end the Empire-before-the-Empire's — a corrupt senatorial faction's — attempt to absorb Outer Rim systems by force. Acceptance means trading independence for protection. Refusal means war. The Force, which Maz feels as a constant companion rather than a tool, guides her not through power but through perception — she can see the weight of future choices more clearly than their content.
The film's climax is Maz choosing neither option: she destroys the senatorial faction's ability to wage war against the Outer Rim, forces the Republic to accept a free-trade agreement, and retires to Takodana — having built a legend large enough to make the planet untouchable. The final scene is Maz sitting in what will become her castle, opening a small wooden box and placing something inside: Anakin Skywalker's lightsaber, received from a dying Republic soldier who found it somewhere and asked her to keep it safe.
Freedom, chosen family, and the refusal to let institutions define the terms of one’s existence. Maz’s story is ultimately about building a sanctuary in a galaxy that would prefer everyone conform.
The High Republic era at its midpoint — the Jedi in their institutional prime, the Republic expanding aggressively, and the Free Fleets as a political force that history has largely forgotten. An entirely new chapter of the Star Wars timeline.
The High Republic era has been extensively developed in novels and comics, building a ready audience for live-action adaptation. An adventure-epic framework with a distinctive protagonist — an older woman of unknown species who is simultaneously charming and terrifying — is a genuinely novel theatrical proposition.
The most visually ambitious entry: High Republic-era costumes and environments, Free Fleet alien ensemble cast, large naval space-battle sequences, and world-building on the scale of a new franchise era launch.
The natural launch pad for a High Republic cinematic sub-franchise. Sequels, companion Disney+ series, and animated content can all flow from this world-building investment. The most franchise-generative entry on this list.
Star Wars: Dex’s Last Customer
A four-armed Besalisk and owner of Dex's Diner in CoCo Town, Coruscant, Dexter Jettster appeared briefly in Attack of the Clones in 2002 as Obi-Wan's informant, identifying a Kamino saber dart and inadvertently setting the entire Clone Wars in motion.
His backstory — established in expanded canon — includes hyperspace prospecting during the High Republic era, a friendship with a young Maz Kanata, and a post-Empire fate involving exile into Coruscant's deepest underworld after the Empire identified him as a Jedi contact. He ultimately joined The Erased — a network of fugitives hiding in Coruscant's sub-levels — and lived out his days in constant fear.
Dexter Jettster is the franchise's most dramatically undervalued character — a man who, by sharing a piece of information with a Jedi friend over breakfast, accidentally started the Clone Wars and never stopped carrying the guilt.
That is an extraordinary premise for a character study: what happens to an ordinary person when they discover their small act of friendship cascaded into a galaxy-ending catastrophe? The film is also a detective story rooted in Coruscant's underworld — a genuinely noir setting that Star Wars has always gesturally referenced but never fully inhabited.
Noir character study — Chinatown by way of After Hours. A retired informant living in exile in Coruscant’s underworld is forced back into the information game when the one person who can guarantee his survival needs the last piece of information he will ever share.
Set approximately 10 years after Revenge of the Sith, in 5 BBY, the film finds Dex deep in Coruscant's Level 1313 — the famous underworld level originally developed for a cancelled standalone project — surviving among The Erased: a community of people the Empire has effectively erased from the galaxy's records.
He is old, tired, and haunted. He knows that his identification of that Kamino dart led Obi-Wan to Kamino, led to the discovery of the clone army, and led to the Clone Wars — a war that killed tens of millions. He did not intend any of it. He was just good with a dart.
When a young woman arrives at the communal kitchen where he cooks — she is a Rebel contact, carrying a piece of encrypted intelligence that has been physically concealed in a device he would recognize as High Republic-era technology — Dex is forced back into the role he always played: the person who knows what nobody else can identify. The Empire has been following the trail of people who might know what the device contains, and the ISB is three steps behind.
The film is low-scale and intimate — a single day, a single building, an old man deciding whether the world he helped accidentally break deserves one more small act of help. The climax is not a battle but a choice: Dex identifies the device, extracts the information, passes it to the Rebel contact, and sends her away. The final scene is Dex, alone in his kitchen, cooking a meal for nobody, at peace for the first time in a decade. Not redeemed — just, finally, quiet.
Guilt, complicity, and whether a person who contributed to catastrophe without malice can find peace with what they are. The most quietly devastating entry on this list. Dex’s story is about an ordinary person who was never a hero or a villain — just a cook who knew too much — and what the weight of that ordinary humanity costs.
Coruscant Level 1313 — one of Star Wars’ most beloved cancelled concepts — would finally receive its cinematic due. The Erased as a formal underground community. The post-Jedi-purge information economy of Coruscant’s lower levels.
The Coruscant underworld has been a fan obsession since Level 1313 was cancelled. The small-scale noir framework allows enormous budget efficiency. A genuinely adult, literary Star Wars film would generate extraordinary critical attention.
The most efficient production on this list: primarily a single-location underground world, limited cast, no space battles, practical alien design for Dex and supporting characters. A genuinely micro-budget Star Wars film.
Best as a standalone. No sequel needed; the story is complete. Disney+ companion short exploring The Erased community. The most artistically courageous entry on this list.
This appendix preserves the source document text inside the website architecture for auditability while the main page presents it as a designed editorial experience.
This slate works because it treats minor characters as doors into new genres. Mother Talzin opens dark fantasy. Fennec Shand opens precision action. Darth Plagueis opens tragic myth. Maz Kanata opens High Republic adventure. Dexter Jettster opens the hidden grief of ordinary people living beneath galactic history.